Klaus Ib Jørgensen Spirit Beams (2007) for mezzo-soprano, clarinet, piano & viola Dur. 5’
Part of the “Moon-pain” cycle Text: Fernando Pessoa
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Klaus Ib Jørgensen Spirit Beams (2007) for mezzo-soprano, clarinet, piano & viola Dur. 5’
NOTES
NOTER
Spirit Beams is a part of the cycle Moon-pain to which belongs the following overall programme note:
Spirit Beams er en del af en større værkcyklus, Moon-pain, til hvilken der knytter sig denne overordnede programnote:
Fernando António Nogueira Pessoa (1888-1935) was one of the most important Portuguese authors and poets (perhaps the most important) of the twentieth century, although he was not recognized until many years after his death. Pessoa, who was bilingual in Portuguese and English (he grew up and went to an English school in South Africa, where his stepfather was Portuguese consul), spent his whole life from the age of 17 in Lisbon, where he lived the life of a recluse in a succession of rented rooms with hardly any contacts with other people and in difficult financial circumstances – consuming quite considerable quantities of alcohol which in the end killed him at the age of 47. He lived a double life: by day he earned his living at his routine job as a casually employed translator of commercial correspondence, while by night he expressed his poetic genius in a large, highly stylistically diverse body of work. Some 27,000 pages of poems, prose, essays, plays, notes and diary entries were found when literary scholars began to register his great oeuvre in 1969.
Fernando António Nogueira Pessoa (1888-1935) var en af det 20. århundredes mest betydelige portugisiske forfattere og digtere (måske dén betydeligste!), selvom han først for alvor fandt sin anerkendelse mange år efter sin død. Pessoa, som var tosproget portugisisk-engelsk (han voksede op og gik i engelsk skole i Sydafrika, hvor hans stedfar var portugisisk konsul), tilbragte, fra han var 17 år, hele sit liv i Lissabon, hvor han levede en eremittilværelse i skiftende, lejede værelser, uden nogen videre omgang med andre mennesker, under vanskelige økonomiske kår – og under det ret betydelige indtag af alkohol, som til sidst tog livet af ham i en alder af 47 år. Han levede et dobbeltliv, hvor han om dagen passede sit anonyme, rutineprægede arbejde som løsansat oversætter af handelsbreve, og om natten udfoldede sit digteriske geni med en usædvanligt stilistisk varieret og omfangsrig produktion til følge. Omkring 27.000 siders digte, prosa, essays, skuespil, optegnelser og dagbogsblade var der, da litteraturforskere begyndte at registrere det store værk i 1969.
He spoke through a succession of invented ‘heteronyms’: complete poetic identities with different names, birthdates, educations, careers, idiosyncrasies, loves and consistent poetic styles. Authors and poets like Bernardo Soares, Alberto Caeiro, Ricardo Reis, Álvaro de Campos and about 67 others are all different avatars of Pessoa’s poetic imagination. And while the outer Pessoa in his adult life hardly made any journey longer than from London to Windsor, his own inner journeys took him, in his many guises, farther and wider than almost any other human being.
Han udtrykte sig gennem en lang række af selvopfundne heteronymer: helstøbte digteridentiteter med forskellige navne, fødselsdatoer, uddannelser, livsforløb, idiosynkrasier, kærligheder, og gennemførte digteriske stilarter. Digtere og forfattere som Bernardo Soares, Alberto Caeiro, Ricardo Reis, Álvaro de Campos og ca. 67 andre er alle udtryk for forskellige sider af Pessoas digtersind. Og hvor den ydre Pessoa selv næppe i sit voksne liv foretog rejser af større udstrækning end hvad der svarer til afstanden fra København til Helsingør, så bragte hans indre rejser ham, i hans mange skikkelser, længere og videre omkring end vel noget andet menneske har formået det.
Fernando Pessoa’s most important work is O livro do desassossego/The Book of Disquiet – a huge body of reflective, diary-like notes written over a 25-year period by ‘the bookkeeping clerk Bernardo Soares’. The dreamer Soares. Not a ‘daydreamer’ in the normal, ephemeral sense; no, a personality who was quite aware of his inclination always to prefer dream to reality. Soares says at one point in The Book of Disquiet: “I have dreamt much. Having dreamt can tire me, but I never tire of dreaming. No one can tire of dreaming, for to dream is to forget, and oblivion is no burden.”
Fernando Pessoas mest betydelige værk er Rastløshedens Bog – en umådelig mængde af reflekterende, dagbogslignende optegnelser, som er skrevet over en 25-årig periode af ”bogholderassistenten Bernardo Soares”. Drømmeren Soares. Ikke dagdrømmer i den gængse, flygtige forstand, nej, en personlighed, som var helt bevidst om sin tilbøjelighed til altid at foretrække drømmen frem for virkeligheden. Soares siger et sted i Rastløshedens Bog: “Jeg har drømt meget. Det kan trætte mig at have drømt, men jeg bliver aldrig træt af at drømme. Ingen kan blive træt af at drømme, for at drømme er at glemme, og glemslen tynger ikke”.
Bernardo Soares’ urge to escape into the dream was thus almost a condition of life. Whether he brought grief to others, no one knows
Bernardo Soares’ trang til at flygte ind i drømmen var således nærmest et livsvilkår. Om han bragte andre sorg derved, vides ikke.
Perhaps he did – some dreamers do. Måske...? – visse drømmere gør. Dreams can be oblivion, but may mean immortality. Dreams can take the dreamer so far up towards Heaven that the vessel shatters and immortalizing death becomes a reality (the dream itself may be forgotten in time, but are the dreamer and the influence that the expression of his dreams has had on the world around him?). Yes, dreams can bring grief! And not only to the dreamer, who is incapable of telling moon from sun, refreshingly cool from sweltering hot, the dream itself from reality, here from there and everywhere ... Does that make the dreamer ridiculous? Perhaps – some dreamers are! But surely not Soares – the heteronym of Pessoa who comes closest to his own personality (in fact he speaks of Soares as a ‘semi-heteronym’), and the element of dream runs strongly through all of Pessoa’s oeuvre, starting with the early poems in English (written in his own name), which have formed the point of departure for my work cycle Moon-pain. Here dreams and dream visions are woven, braided, tangled and knit together in a marvellous tissue of notes, colours, moods, sounds, pulses, ripples on a moonlit lake surface – and transience; a web of polyphonic, multifaceted transience. “Somewhere dreams will never be true!” Moon-pain is dedicated to the great Icarian dream-flop: the mother of all falls!
Drømme kan være glemsel, men betyde udødelighed: drømme kan bringe den drømmende så langt op mod himlen, at det bærende brister og den udødelighedsgivende død bliver en realitet (drømmen selv glemmes måske med tiden, men gør drømmeren og den indflydelse, hans drømmes udfoldelse har haft på hans verden omkring ham?). Drømme, kan, jo, bringe sorg! Også for andre end den drømmer, som ikke selv magter at skelne måne fra sol, rislende køligt fra smeltende varmt, drømmen selv fra virkelighed, det ene fra det andet... Er drømmeren dermed latterlig? Måske...? – visse drømmere er! Men næppe Soares – dét af Pessoas heteronymer, som kommer tættest på hans egen personlighed (han omtaler selv Soares som et semi-heteronym), og det drømske element trækker et langt spor igennem hele Pessoas produktion, helt tilbage fra de tidlige, engelsksprogede digte (skrevet i hans eget navn), som har dannet udgangspunkt for min værkcyklus Moon-pain. Her væves, flettes, filtes, knyttes og bindes drømme og drømme-syn sammen i et forunderligt spind af toner, farver, stemninger, klange, pulseringer, krusninger på den månebeskinnede vandoverflade… og flygtighed; et spind af polyfon, mangefacetteret flygtighed. “Somewhere dreams will never be true!” Moon-pain er tilegnet erindringen om det store, ikariske drømmeflop: alle falds moder!
Klaus Ib Jørgensen (Translation: James Manley)
Klaus Ib Jørgensen
About Moon-pain (2004-07)
Om Moon-pain (2004-07)
Moon-pain is a cycle of works based on poems from Fernando Pessoa’s collection The Mad Fiddler (1911-17). The whole cycle consists of fifteen movements in all of which five are with vocal solo and the remaining ten are purely instrumental. All movements are written within the framework of a sextett consiting of flute, clarinet, piano, violin, viola and cello. Some movements exploit the full ensemble while others use different combinations of the instruments, and yet others are for one solo instrument only. The whole cycle has a total duration of approximately 74 minutes.
Moon-pain er en cyklus af værker baseret på digte fra Fernando Pessoas digtsamling The Mad Fiddler (1911-17). Hele cyklussen består af i alt 15 satser, hvoraf fem er med vokalsolist og de øvrige er rent instrumentale. Alle satserne er instrumenteret indenfor rammerne af en sekstet bestående af fløjte, klarinet, klaver, violin, bratsch og cello. Nogle er for fuldt ensemble, andre for forskellige kombinationer af de seks instrumenter, mens endnu andre er for soloinstrument. Hele cyklussen varer ca. 74 minutter.
The five movements with vocal solo can be performed individually or together as a group (total duration approx. 40 minutes). The instrumental movements—of which several are very short and carry a significant “Stamp of the Intermezzo”—may be performed in concert in small groups. Please consult the composer’s website for more details: www.antiphony.dk
De fem satser med vokalsolist kan opføres enkeltvis eller samlet (samlet varighed ca. 40 minutter). Instrumentalsatserne – hvoraf enkelte er ganske korte og har et udpræget intermezzo-agtigt præg – kan koncertopføres i mindre grupper.
Se flere detaljer på komponistens hjemmeside www.antiphony.dk.
Playing directions All:
— — — —
As high as possible
directions As highPlaying as possible, but different (indefinite) pitches
etc.
œ œ œ œ œ œ
— —
œ
œ œ œ œ —
— — — — — etc.
As fastAll: as possible
— — — etc. — possible, As as possible — As fast —as but relativized by accelerandi / high etc.
—
— — — ritardandi As high as possible, but different (indefinite) pitches — etc. — —
œ œ œ œ etc. œ œ œ œ œ œœ μ œ œ œ œ Aœ quarter-tone œ up œ œ œ œœ As fast as possible
— — —
œ œ œ œ œœ œ œ quarter-tone œ fast œµ œ as œdown œpossible, œ J ˙œ œ A relativized œ ˜ but As by accelerandi / — — etc. ˙ z J œ µ ˜ ritardandi z˜ œ œ œ œ œ œ œ œ œ œœ ˙ J µ 3 quarter-tones ˜ upœ ˙ J µ ˙ ˜ µ„ „ œ „ A „Jquarter-tone œup ˜ „ z œ œ œ œ œ z z etc. ˙ œ œ „ œ œ„ œ œ„ „ „ etc. „ „ ˙ — — —œ A down ˙ J— µ ˜ quarter-tone z„ — „ — „ „ „ „ „ „ „ etc. o o o etc.œo o o — „ „ + „ o o ˙ „ „ œ — „ etc. „˙ etc. œo œ œ˙œo œ œ œ J + œ˙jetc.Voice: µ„ „ ˜ 3œo œoquarter-tones up etc. œ œo œo œo o z j œ œ œ „ etc. o „ o œ o oœ œoœSprechgesang o o œ o o œ œ œ œ œœ „ „ „o +oj œo o+ o „œetc. + o o œ œ o œo œœ o œo œo œ˙œœo o o œ œœ œ œ jœœ œœ œœ œ œ œ œ œ œ œ etc.œ œ œ œ œ œ œj œ „ „ etc. „ etc. etc. — — —œ 9 5 „ — „ „ o˙ etc. + o œo 9 œo œo o œ œo o5 Voice: etc. j œ˙ J œ µ ˜ œ œ œ o z ^ œ etc. etc. ˙ J µ ˜ o 9 # ^ 5 œ Sprechgesang + o œo 9 œ œo o œo ^o Clarinet: 9 5 z 5œ j œ œ# ^œ + etc. œ œ œ œ œ œ etc. ^ j œ etc. œetc.œ œ œ „ j „ . . . . ^ œ ^ . .µ œ. Slap j œœ . . „. etc. „ „ „ tongue ˙ #^ „ „ „ „ 9 #^ #^ 5 . œ œ . . . . . . . . µœ. „ „ etc. etc. ˙ Clarinet: ˙9 œ ˜ ˙— J œœ—j . . . . . Air ^5 j µ o z . j. +. .µœ. only, no opitch — — o œo o o œ o o — # ^ . — œ œ . — . . . . . œ . j. . . . . . . . œ — etc. o etc. o . . .µœ. œœ œ œ œ œ µ œ etc. œ œ + o o o o œ o o etc. ^ j œ Slap œ œ œ œtongue œ etc. œœ œ œ œ œ j Theœ œclarinet is transposed œ #^ etc. „ „ œ . . . . . . . . . . œ œ œ œ œ œ œ œ œ „ „ etc. µ œ etc. „ „ ˙ Air only, no pitch j œœ œœ œœ œœœœ . . œœ. . . . œ œ œ œ œ œ œ œ9 etc. œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ etc. . . .µ& ∑ œ. œ œ œ œ œ œ œ œ etc. 5 is transposed o o o œo o o The 9 clarinet +5 etc. ∑ o œo & œ œ œ j œ œ œ ^ œ etc. Viola: œ œ œ œ œ œ œ œ etc. #etc. ^ & ^ ˙˙ µ ∑ JJ ˜˜ ∑ ∑œœ ∑ # ^& & µ zz œ œ & j œ œ œ œ œ œ etc. Tremolo is always unmeasured, unless otherwise indi∑ & Viola: œ . . . . . . . . . . œ j 5 µ œ ∑ 9& cated œœ . . . . . . . . . . ∑ Klaus Ib Jørgensen: Moon-pain, viola - 1 ∑ ∑ & & &„ „ µ„œetc. „„ „„ „„ Tremolo is always unmeasured, unless otherwise indietc. „ Klaus Ib Jørgensen: Moon-pain, viola - 1 „„ ∑ ˙˙ ^ etc. & S.P.: Sul ponticello cated #^ ∑ Moon-pain, viola - 1 Klaus Ib Jørgensen: & Klaus Ib Jørgensen: Moon-pain, viola -œ 1 œ IbœJørgensen: œKlaus œ œ œ Moon-pain, viola - 1 etc. oo œS.P.: j oo o S.P.+: Sul ponticello œ Extreme sul ponticello to the point where the + o o o o o œ œ œ œ œ œ œ œ œ+jœ etc.œœ . . . . . . . . . . œo œœo œ œœo œo ∑ œœo œo µ œ j œ & œ œ œ œ œ
œ œ œ œ œ —œ œ— œ œ œ Jœœ
etc.
© 2003 by Edition SAMFUNDET, Copenhagen
© 2003 by Edition SAMFUNDET, Copenhagen
© 2003 by Edition SAMFUNDET, Copenhagen © 2003 by Edition SAMFUNDET, Copenhagen © 2003 by Edition SAMFUNDET, Copenhagen
œœ
© 2003 by Edition SAMFUNDET, Copenhagen
& &
© 2003 by Edition SAMFUNDET, Copenhagen
œ 99œ œ œ œ œ œ œ55
&
S.P.+: Extreme sul ponticello to the point where the ∑ pitch becomes almost inaudible (but not entirely!). ∑ Jørgensen: Moon-pain, viola - 1 Klaus Ib
&
S.T.: Sul tasto
S.T.: Sul tasto
∑ vibrato) S.V: Senza vibrato (N.V: normal & etc. etc. ∑ ^^ S.V: Senza vibrato (N.V: normal vibrato) ##^^ ∑ Col legno (battuto) C.L.: Klaus Ib Jørgensen: Moon-pain, viola - 1 j etc.
œœ . . . . . . . . . μœ. jj
© 2003 by Edition SAMFUNDET, Copenhagen
© 2003 by Edition SAMFUNDET, Copenhagen
&
œ etc. pitch becomes almost inaudible (but not entirely!). etc.Moon-pain, viola - 1 Klaus Ib Jørgensen:
œ
C.L.: Col legno (battuto)
œœœœ . . . . . . . . . . . . . . . . Saltando .µ. µœœ..
Klaus Ib Jørgensen: Moon-pain, viola - 1
∑
Saltando
Bowed ‘tremolo’ in accelerando / ritardando. Alternate Bowed ‘tremolo’ in accelerando / ritardando. between very slow, less slow and relatively fast, but Moon-pain, viola - 1 Alternate between very slow, less slow and relatively œ œ œ œ œ œ œ œ etc.Klaus Ib Jørgensen: never hectic. The number of tones in each bar is relaœœ œœ œœ œœ œœ œœ œœ œœ etc. fast, but— never hectic. The number of tones in each etc. — — — inetc.approximately tive, but try to fit the number of bar is relative, but try to fit in approximately thetones numshown.ber of tones shown. ∑∑ & &
© 2003 by Edition SAMFUNDET, Copenhagen
œ œ œ œ œ
& &
œ
œ
œ œ œœ
Piano:Piano:
∑∑ ˙ J µ ˜ Wild, uncontrolled tremolo zWild, uncontrolled tremolo
˙ z
œ
Klaus Klaus Ib Ib Jørgensen: Jørgensen: Moon-pain, Moon-pain, viola viola -- 11
© 2003 by Edition SAMFUNDET, Copenhagen © 2003 by Edition SAMFUNDET, Copenhagen
The piano part is written in a sort of open notation
The piano is written in a sort of open notation that that leaves „ part „ „ the rhythmical details to the performer. etc. „ „ „ The leaves the rhythmical performer. The part part is to bedetails played to as˙the an irregular mumbling in is to bea played as an pattern. irregularTomumbling in aintention polyrhythpolyrhythmic illustrate the mic pattern. intention behind this notabehindTo thisillustrate notation, please consult the example o the + o o œo œo o œ œo o j please œ example belowconsult where a rigid, measured version (1) isa œ œ œ both tion, the below where both œ shown as well as its chosen etc. relative representation rigid, measured version (1) is shown as well as its cho(2). representation (2). sen relative 9
5
# ^1.
2.
^
etc.
1.
j œœ . . . . . . . . .µœ.
œœœœœ œœœ
2.
etc.
&
∑
&
∑
© 2003 by Edition SAMFUNDET, Copenhagen
Klaus Ib Jørgensen: Moon-pain, viola - 1
SPIRIT BEAMS From the moonlit brinks of dreams I stretch foiled hands to thee, O borne downe other streams Than eye can think to see! O crowned with spirit beams! O veiled spiritually! My dreams and thoughts abate Their pennons at thy feet. O angel born too late For fallen man to meet! In what new sensual state Could our twined lives feel sweet? What new emotion must I dream to think thee mine? What purity of lust? O tendrilled as a vine Around my caressed trust! O dream-pressed spirit-wine!
Fernando Pessoa – from the collection The Mad Fiddler (1911-17) The original title of the poem is “Spell”
INSTRUMENTATION: Mezzo-soprano Clarinet in Bb Piano Viola - A conductor is strongly advised. Please consult playing directions on the next page.
Spirit Beams Klaus Ib Jørgensen 2007
q = 69 - 72
(Spreschges.)
4 &4
Voice
45
∑
p j œ ‰
44 Œ
G.P.
24
≈ bœ ≈ Œ J
From
the
Clarinet in Si b
& 44
∑
45
G.P.
44
∑
24
Viola
B 44
∑
45
G.P.
44
∑
24
45
G.P.
44
5 4
G.P.
4 4
π sempre
Mumbling
[always hold]
t 44
˙
24
˙
b˙
Piano
t4 4
bœ œ #œ ∏ sempre ° ad lib.
œ #œ
#œ
#œ
œ
nœ
œ œ nœ #œ
bœ J
#œ
2 4
nœ
ª
(S.G.)
voice
moo
P
(canto)
P 4 j & 24 . œ -
p 78 ‰ # œ. ≈ Œ ·
‡ Œ YT
nlit
. ≈ # œ· ‰ ‰ 58 nœ
brinks
of
Œ
F
3
34 œ. ‰ j ‰ b œ J œ.
‰
dreams
I
stretch
fo
p
œ
· -
j œ
24 Π.
œ· ‰ iled
58
hands
cla.
& 24
∑
78
∑
58
∑
34
∑
24
∑
58
vla.
B 24
∑
78
∑
58
∑
34
∑
24
∑
58
[misurata]
π p . 5 j b œJ ‰ 2 ‰ . œ. ≈ 5 œ 4 J #œ
58
24 #œ
58
3
t 24 (˙ )
78
58
#˙
b˙
34 ˙
n˙
pno.
t 24 œ
78 #œ œ
œ œ #œ
œ
œ J
nœ
œ
58 nœ
œ
œ
œ #œ œ
34 œ
œ
bœ
#œ
nœ
ª 9 voice
5 &8 Œ
j œ
Œ
Fπ ( >) b˙
44 œ
to
thee
. œ bœ
p 38 œ œ J
, O
bor
34 œ -
(bel canto) ( )
grotesque
(bel canto)
(–ne)
p
4
3
œ
œ down
( µœ )
œ
‰ œ
o - ther
strea
24
˙ -
-
-
-
ms
cla.
& 58
∑
44
∑
38
∑
34
∑
∑
24
vla.
B 58
∑
4 4
∑
3 8
∑
3 4
∑
∑
2 4
t 58
44
n˙
j bœ
38
˙
34
n˙
˙
˙
#˙
24
pno.
t 58 œ
bœ #œ œ
nœœ
œ
© 2008 by Edition SAMFUNDET, Copenhagen Engraving by Morten Olsen
44 # œ œ
œ
œ
œ nœœ # œ
38 œ #œ J
#œ
Klaus Ib Jørgensen: Spirit Beams - 5
34 œ
nœ
œ
œ
#œ
#œ
œ
œ œ
24
(S.G.)
14 voice
5
2 & 4 Œ.
j œ
‡ œ œ
than
cla.
& 24
vla.
B 24
3
j œ #œ
eye
fP 5œ œ 8
3 ‡≈ Œ 8œ
can
∑
thi
∑
38
∑
3 8
-
t 24 ( ˙)
œ ˙ J
to
4 4
see
34 5:3
5
5 ≈ bœ ‰ ∑ ‰ b œ. œ b œ 8 . œ œ. ' .' P . . bF f ( ∏) fÆ >œ # >œ ># œ P (hold) # œ nœ 5 Œ #˙ 3 œ Œ. 8 8
#˙
S.V. (canto)
3 ‰ 4
∑ pizz.
∑
nk
58
∑
∏
P f ‡ ‰ ≈ ‰ bœ
44
∑
˝ 3 n >œ ≈ ‰ 4 · ß
Ó
34 Œ
Œ
4 4 (
‰.
t 24 # œ # œ
nœ
œ
œ
bœ J
n œ œ œ 38 œ nœœ œ œ
œ
5 œ 8 ‡ ≈ ‰ œ' ß
(senza cresc.)
34 Œ
Œ.
44
&
#œ œ bœ 44 œ œ œ
∏
pno.
p)
≈ #œ
5
(ped. ad lib.)
ª
f espr. ˙
19 voice
4œ &4
P œ
π œ .~~~~~
q = 60
7 Π8
∑
~~~~~~ ~
calm
Œ
p j 34 œ
Œ
(ee)
O (gradually slower) cl. basso
cla.
& 44
Ÿ
∑
w bœ ∏ (
arco
vla.
B 44 Œ
&
œ. o 7
& 44 pno.
w
F
fπ
œ œ #œ œ #œ œ #œ œ œ #œ b œ œ œ 9 F 5 3 t 44 œ & œ #œ œ œ œ œ œ œ #œ J #œ œ 5
(senza cresc.)
b˙
t
11
œ œ #œ œ
78
. 34
˙
34
∏
∏ t
‰
˙
œ
œ J
78
34
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˙
)
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78
˙ F
bœ J
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œ
nœ bœ
#œ J
78 # œ
œ
œ
34
œ
J
ª 22 voice
3
3 3 & 4 œ # œj Œ
Œ j 38 nœ
cro - wned
G.P.
π (as an echoe of the previous) 34 ‰ œ œ œ #œ
o
o
cro
-
-
165 ‰ . ‰ 44
24
∑
wned
+ # >œ
(slap)
cla.
& 34
˙. ˙
vla.
38
.
G.P.
34
165
∑ S.P.+
(
& 34
µœ )
38
G.P.
34 Ó
B ≈.
..... . ....
œYYYYY≈YYYYYµœ
165
Í t 34
b˙
38
G.P.
34
3 œ 8
G.P.
34
165
˙
∑
44 ‰
π trem. œ . œæ 4 ˙ ® œ· Œ 4 æ +Ö P ∑ 44
fltz. 5
®œ œ
5
µœ
œ‡ œ
‡ 2 æœ 4
ß ∏ 5
3
#œ æ
œ æJ
˙ æ
24
˙
b˙
24
pno.
t 34 n œ
bœ
#œ
œ bœ
œ
165
Klaus Ib Jørgensen: Spirit Beams - 6
44 #œ
œ
#œ
œ
nœ
# œ 24
27 voice
q = 66
q = 72
π j œ
& 24 ‰
O
34 ‰
œ
#œ cro -
p j œ
F œ. J
(S.G.)
wned
with
spi
π
S.G. 3
j #œ
œ œ · -
ri -
-
Œ
‰
œ vla.
B 24 µ œ . æ
œ
œ
( )
34 ‡ # >œ F
nœ
≈
‰
≈
b œ.
‰.
3
®
24
œ œ nœ bœ œ 8 bœ . π
∏ arco YOœ 3 YOœ .. &® 8 œ ·Ö +P
5
pizz.
(non trem.)
24 ‰
‰
œ
34
œ. O
6
6 34 ®‰ œ bœ œ œ b œ
& 24 ˙æ
38 Π.
- t–beams
(ord.)
cla.
p
canto
34
˙ π OYœ ..
f OYœ æ
24 OYœ •
b œœœ œ
bright!
t 24
#˙
34
˙
#˙
n˙
38
b b œœ n œ & œ n b œœ
24 Œ
pno.
t 24
3 #œ 4
#œ
j œ
œ #œ
œ
Fπ 3 & 4 #˙ . ve
(
-
-
-
-
cla.
vla.
-
-
-
-
-
œ b œ b œ œ œ # œ n œ nœ # œ F
(e)
•
6
bœ
œ
œ
bœ
bœ
œ
3 bœ 8
œ
[
#œ
œ
34
ª
3 4
bœ
œ
#œ
Ó
nœ
œ
œ
œ. b œ.
P ∑
? 34
bœ
œ
p
Ÿ~~~~~~~~~~~~~~~~ > b œ. œ 4 # œ n œ # œ # œ œ . ® ≈ œ. ˙ 4 ‰ ] œ. J π # œ. F π 44 Ó ‰ (
o
bœ œ œ
38 YOœ .. F ∏ sub.
(loco)
pno.
?
[led]
a
i
44 OYw
œ #œ œ œ #œ
f ∑ (°)
24
)
œ œ#œ œ 44 œ b œ b œ b œ n œ œ œ œ œ bœ n œ
YO . & 34 ˙ .
& 34
34
7
10
3 &4
œ #œ
œœ .. œœ ..
f ~ ~ ~ ~~~~~~~ ~ ~ ~ ~ ~ ∞ ~ ~ ~ ~~~ ~ ~ ~ ~ ~ ~ ~ ~ Ÿ~~~~~~~~ ~~ 4 œ œ 3 Œ. ˙. 4 8
31 voice
œ 38 œ
œ
34
?
)
whit
e key
œ
gliss .
‰ # # œœ. ‰ # œ. ‰
π
38 ‰ 38
7
∏
3 4
34
œ.
34
b œ. 8:5œ‡
≈ ≈ œ # œ œ œ bœ · #œ
34
(no pedal)
ª
34 voice
q = 62 - 66
4
-
ri
tua
-
œ
Œ
vla.
smorz. (slow)
4 4 o
? 34 Œ
44
∑ 3 j
bœ
. ≈# œj œ· ‰
œ. Œ J
&
44
pno.
? 34 ≈ œ œœ œ
3
24
∑
165
∑
∑
My
˙ ∏
˙
˙ ˙
& 34
Ó
lly
S.V.
3 &4 Ó
P 38 j ‰ ‰ 24 œ (S.G.)
π quasi parl. (canto) 3 j ‰ j ‰ ‰ ‰ & 4 œ b œ œj j 44 ‡ ≈ ‰ œ œ spi
cla.
q = 72
j j ‰ bœ œ P sub.
44
OYœ
o
OYœ
°
.
∏
• . bœ. œœ . # œ . œœ .. ≈ Œ z Ïsub. Ó
˙
P 5 ? j Ó œ ∏ sempre
n˙
˙
˙
˙
>OY YO . OY œ œ. œ æ ƒ π
YOœ >OYœ OYœ æ ƒπ
œ
#œ
nœ
(ped. ad lib.)
Klaus Ib Jørgensen: Spirit Beams - 7
vibr.
5 16
˙
> # # OYœ OYœ OYœ 24 æ ƒπ 24
˙
w
( )
œ
˙
2 4
œ
24
#œ
2 4
œ
> 516 # # OYœ OYœ æ· ƒπ b ˙ 165
œ
3 Œ. . œ œ 8
5 œ 16
38 OYœ ..
24
38
24
38 n œ
œ
24
ossia:
ossia: œ #œ .
œ
f j 2 5 3 & 4 œ # œ # œj ‰ 8 ‰ œ ‰ œ œ 4 Ó
40 voice
cla.
f P j 2 ‰ œ 4 #œ .
3
drea
ms
-
& 24
and
thoughts
58
∑
a
+ ‰ œ‡ ≈ Œ > ß
34 Œ
∑
vla.
n n OYœ
? 24 n ˙
58
#˙
b˙
34
˙
(canto)
j 24 ‡ ≈ ‰ Œ œ œ
pe
tetheir
S.V.
24 ‰ œ
5
OYœ ≈ 3 OYœ ≈ ‰ æj æ‡ æ 4 œ œœ Y O · œ o π p F F
J
-
p #œ Œ J
3
nnons
-
(smorz.)
trem.
58 OYœ YOœ ..
p j 58 Œ œ
ba
-
S.P.+
OY & 24 œ
j œ
24 æ J
œ. ord. 3
o
(non trem.)
#œ
œ
>œ3. ‰ J ‰ ‰ ß
pizz.
58 ® ч ≈ ‰ # œ. p P
f
˙
58
˙
24
œ.
œ ∏
(œ )
24
˙
58
[
œ
‰
Œ]
˙
˙
˙
(senza cresc.) C.L. batt. 3
B
24 ‰ j ‰ Œ ∏ œœ œ œ œ œ œ œ œ
&
. .......
˙
24
#˙
pno.
?2 4
5 œ 8
œ
#œ
3 4 #œ œ
œ
œ
nœ
2 œ4
#œ
#œ
nœ
5 #œ 8 œ
2 œ 4
œ
œ #œ
œ
nœ
ª
voice
f > 46 œ. · & ≈ ‰
P j #œ
(S.G.)
‰
at
(canto) (hard "t")
5
œ
thy
‰ Tb œ
Œ
≈ ‰ œ‡
# œ‡ fee
-
167
Œ
58
∑
44
∑
t! (smorz.)
[ ‰]
cla.
&
Œ ˙
˙
˙
˙
pizz.
# œ.Y..
˙
˙
˙ >œ˝ S.P. 3 j j J #œ œ œ > ß fπ
arco S.P.+
> YY.Y... # œ YYY... ≈ J ‰ YYY 3 F f
& ‰
?
˙
‰ 3
(arco) S.P.+ Y
vla.
˙
j bœ
#˙
trem. j æ æ >œ œ œ .. F∏
‰
B
˙
(
œ)
®
Œ
˙
167
? œ
nœ
œ #œ
œ nœ
#œ
œ
œ
#œ
>Y ·Ö ® ‰
œœ P ƒ >œ
nœ
&
P sub. œ jœ
œ
#œ
bœ 167 œ
#œ
58
œ.
˙ ˙ ˙
(
µœ )
44
P
(ord.)
ord.∞ 3
167 Œ
pno.
[Œ]
˙ ˙ ˙ ˙ ˙ ˙
167 œ f
˙
#˙
‰ .]
[Œ
trem.
#œ æ
5 &8 ‰
œb œ
5:3œ‡
f
o
> 58 #zœ . œ Ïsub. 58 Œ . p
œ æ π
44
Œ
44
Œ
44 ª
51 voice
& 44
cla.
& 44
24
∑
∑
44
64
∑
moderate vibrato, if any!
˙
Ó o œ
24 ˙
o
44 w
64
∏
S.P.+
vla.
& 44
& 44 pno.
œ
˙z Ï
? 44 # n œœ‡ ≈ ‰ > ç
Œ
œ
œ
œ œ œ œ œ œ œ 24 Y œ Y œ Y œ Yœ µœYœ œ œ œ œ œ œ œ 44 œ µ œ •
œ œ œ # œ œ # œ œ œ œ# œ œ# œ œ# œ œ # œ œ # œ œ œ œ # œ œ 24 ≈ . ≈ b œ· œ #œ œ œ œ #œ œ 9 10 5 π 9 f ∏ Ÿ~~~~~~~~~~~~~~~ 24 ∑ n b œœ œ .. b œ œ‡ ≈ ‰ p çf (
)
Klaus Ib Jørgensen: Spirit Beams - 8
œ
3
44 œ J 44 Œ
œ œ
œ
œ
œ
œ
œ œ
˙ ˙ 5
?‰.
œ
œ
64
64
∏ j œ ˙ (°)
64
q = 60
∏ 38 œj œ
54 voice
6 &4
∑
34 ˙.
78 j œ œ
O
cla.
fltz.
& 64 ˙
a
(ord.)
38 œ . F ∏ sub.
w æ
34 ˙ .
vla.
w 6 w &4
3 b œ‡œ ≈ Œ 8# œ > ß
Ó
pno.
? 64
˙.
5
38 œjœ ‰œ . µ . J ƒ π sub. J
˙˙ ..
38
˙.
n
78 Π.
o
gel
-
24
Ó
38
38
∑ S.P.+
ord.
& 64 ˙˙ ..
j 2 j œ 4 #œ . ≈ Œ
œ.
j œ‰ 34 œ µ œ
œ
œ
Y
senza cresc.
5
78
7 8
œ
78 œ bœ
3 w J 4( ) ∏ sempre 34 œ œ b œ œ #œ œ #œ
œ.
œ
œ
Y
œ
Y
b˙
b˙
?œ 3
Y
œ
bœb œ œ
2 µœ Y 4 œ Y œ Y œ Yœ Yœ
œ
˙
2 4
œ #œ
24 # œ
,
38
#˙
3 8
œ œ #œ
38
J
(ped. ad lib.)
ª
voice
3 & 8 Œ.
œ -
-
Cl. in Si b
vla.
-
-
-
-
-
-
-
˙
34 Œ œ
˙ æ
o
-
quasi parl. 3
34
ord.
Ͼ
œ
34 #˙
ord. S.P.+ œ
.
S.P.+ ord.
j
œ
fπ &
-
nœ œ
-
œ Jj œ+ P
œ æ Fπ
.
o
∞
too
œ bœ œ
#œ œ
#œ
œ œ bœ
œ œ bœ
2 4
∑
late
, (ord.) œ.
( )
œ
˙
24
π
pizz.
5
> # œ·. ≈ ‰ f
Œ
Œ
b œ‡ Œ > P
B
3
arco S.P. 3
j Πp
Tb œ.
˙
˙
n˙
#œ 3 œ 4
j≈ ‰ œ µ œ‡
rn
bœ. æ
pno.
? 38 œ
Œ
œ
-
œ æ F
π
.
˙
? 38
-
π j œ
fltz.
& 38 Œ . ˝Ñ S.T. ‡ œ œ· . 3 &8 ® ∏ ß
œ
P > œ œ.
J
bo
cla.
Í >œ œ .
œ
p 3˙ 4
59
œ
bœ
#œ#œ
œ
#œ
œ
œ
#œ
‰ >œ b œ J p
24
˙
24 #œ
œ
&
24
ª (S.G.)
p
64 voice
cla.
& 24 Œ
œ
Fo -
-
œ
(
fltz.
œ æJ P
trem.
vla.
œ
#œ . & 24
B 24 æ
(canto) 3
3
# œ)
34 ‰ #œ
r
fa
34 œ æ
-
œ
‡‰ bœ llen
man
Jœ)
F
3
34 Œ
j Œ œ. #˙
5
24
œ‡ ˙ π #˙
34 bœ œ #œ œ œ
œ
Œ
#œ
b >œ J Œ
34 ˙ π
o
˝> # œ· ≈ ‰ ß
pizz.
24
24
∑ smorz.
Œ
F
P
34
œ
34
j ‡≈ ‰ œ œ meet
>+. ≈ # œ· ‰
24 Œ
arco ord.
3
Œ
to
(
q = 72
3
24 Œ 3b œ. Œ J
≈ j œ.
˙ æ
pizz.
& 24
‡
(pizz.)
˙
˙
˙
˙ 5
5
5
24
34 œ b œ ‰ ‰ . A œ œ œ ‰ 2 œ. . . . . . œ. œ. 4 π 34
#˙
˙
#˙
˙
24
pno.
& 24 œ
œ œ
2 #œ nœ 4 nœ œ
œ
#œ
Klaus Ib Jørgensen: Spirit Beams - 9
œœ
œ
34 œ b œ
œ# œ
œ
#œ
24
p 69 voice
3
2 &4
∑
∑
In
cla.
˙
˙
˙
arco S.P.+
vla.
. B 24 œ Y Y Y Y .Y .Y .Y .Y .Y .Y Y # œ ≈ . œ. . . . . .
œ
œ (
f
œ
>œ œ æJ
p
fsub. π
œ)
f
˙
(
nœ)
trem. (non trem.) œ
S.P.
7
& 24 ( ˙ )
˙
ord.
j YY..∞ # œ Y Y . Y. YYY. . .
6
˙
. b œ.
(
b œ)
3
˙
œ‡
what
(gradually slower)
& 24 ˙ ˙ ˙ ˙
5
jŒ œ b œ œ
∑
Œ
F 3 j ‡ ‡j ≈ ≈ œ‡ # >œ œ . n œ œ
new
sen
descrete
5
‰ #œ #œ π
≈ œ œ.
+ j ‰ œ P
3
‰
su - al
-
te
-
5
œ
3
≈ . œ œ bœ œ œ œ bœ µ œ. ( >) π P œ
OYœ OYœ # OYœ n ≈
.
# # OYœ ‰
p
˙
b˙
œ ‰
œ
sta
trem. >OY OY # OYœ. # # Y O # œ ≈ ‰ œ œ æ 3 π p Fπ
Œ
#œ
5
#˙
pno.
& 24 œ # œ œ œ
œ
#œ
œ
œ #œ
œ
œ
œœ
œ
#œœ
#œ
#œ #œ œ
œ #œ
œ nœ
nœ #œ
œ
ª
p
P
(S.G.) 3
75 voice
3
& ‰ #œ
j #œ
œ
Could
our
twi
58 œj œ -
-
π
(canto) 3
3
œ
-
-
-
‰
œ -
34 # œj n œ
ned
œ
li -
-
-
38 œ
œ nœ . ˙ #œ
œ
-
π œ J
5
ves feel
swee
-
-
-
-
-
-
-
-
cla.
vla.
58 j & œ bœ œ œ œ bœ œ bœ œ bœ œ œ 5
OYœ OYœ
OY YO . B œ #œ . 5
˙
˙
>OY YO OY >OY .. # 58 # # OYœ OYœ # œ œ œ œJ fπ 3 Fπ œ
OYœ
æ Fπ
˙
34
&
Œ ˙
œ
˙
˙
œ
œ
OYœ YOœ OYœ
34
3
Fπ
˙
˙
(
˙
œ
œ
# # OYœ n n OYœ
3
· ≈ ‰& Œ f
#œ
œ 3 æ 4
S.P.+ trem.
N >œ œ 34 æ Fπ #˙ 34
38 Œ
˙
n˙
fltz.
38 œ œ . œ
˝ # >œ Œ J ß
3
OYœ
OYœ P
π)
#˙ 3 4
˙
58
#œ π
t
-
[ Π.] 3
34
38
pno.
&
5 #œ 8
œ #œ
œ
œ
Nœ
œ œ
34 œ
bœ œ œ #œ œ nœ
# œœ
nœ 3 #œ œ 8
#œ
nœ #œ 3 4
ª
80 voice
& 34
5
P 5 24 b œ . ‡≈ Œ J œ
∑
3
Wha - t (ord.) œ
cla.
œ. æ
3 œ &4 æ
œ
& 34
ord.
# >œ
(non trem.)
æ
œ
œæ œ Í fπ
pno.
#œ #œ
µœ )
2 4
. j 5 ‰ ‰ . ‡ j b œ· ≈ ‰ œ 8 bœ œ 3
new
Œ
œ . bœ 5
24
24 #œ nœ
pizz. 3
2 œ 4
œ. ≈ 5 ‰ · 8 œ > ˙
n˙ bœ
#œ
N˙
58 5 œ 8
œ œ
-
-
œ
arco
pizz.
24 #œ #œ 2 œ 4
Klaus Ib Jørgensen: Spirit Beams - 10
≈ 58 Œ œ.
P
j B ≈ œ‡ 24 œ f
Œ
-
58 œ œ ‰ ≈ œ‡ ‰ · · >
5
arco S.P.+
( µœ )
œ bœ
J
b œ. 24 ‰ b œ œ · P
œ.
fragile
(canto)
e - mo
5
5 Œ. 8
∑
24 Œ
e - mo
F
#˙
& 34 3 nœ œ &4
(
P π sub.
(S.P.)
vla.
t.Y
(S.G.)
q = 60
® ч ≈ Œ œ >.
5
#˙
>OY œ 5 OYœ · 8 f∏
tion
3
must
œ #œ nœ
5 œ 8
I
5
j ‰. # œ. π
j œ
# œ.
≈ ‰
2 4
pizz.
> œ
(
24
Œ.
bœ )
Fsub. ˙
58 œ
π ≈ œ‡ 24
#œ
œ #œ
24 #œ nœ 2 4
85 voice
& 24 # œJ n œ . drea
-
vla.
& 24
B 24
to
ord.
thi
-
-
-
≈ œ œæ π
nk thee
mi
-
-
-
-
-
-
-
-
-
-
-
-
34
‰
œ œ . œ . œ œ #œ . œ .
‰
œ 5 8
œœ
#œ
5
π
ne
œ
œ æ p
P
œ
œ
3
œ· ≈ 5 ‰ # OY ‰ 8 # œ. p ˙ 58 #œ œ5 œ 8
24
fltz.
58 œæ # œ‡≈ Œ . F p
OY. p
-
3
œ #œ œ #œ nœ œ
2 œ #œ œ &4
5
5
3 ‰ . œæ‡ œæ œæ‡ ≈ Œ . p œ œ. b b OYœ OYœ ‰ p π #˙
& 24 pno.
m
-
fltz.
cla.
œ œ‡ 34 j ˙ . · #œ
œ ‰ ‰ j 58 œ . œ œ nœ J
-
F π sub. 58 œ ~~~~~~ ~~~~~ Œ .
OYœ.. # OYœ ®‰
‰
34
·
Œ
>œ J
&
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ b œ œ bœ œ
34 œ
.
58
24
F ∏
(misurata)
˙ nœ #œ œ #œ
˙
24
π
senza cresc.
3 4
58
9
œœ bœ œ# œ œ # œ œ # œ # œ
œ
24
10
5 8
∑
œ œ
2 4
∑
ª
90 voice
q = 72
2 &4
∑
3
38 ‰ Œ
∑
What
cla.
œ vla.
+ + œ·. 3 ‰ . ‡ Œ œ. 8 5 P p Ÿ~~~~~~~~~~~~~~~~~~~~~~ S.P.+ >œ œ ˙ J 38 ‰ . fπ f
œ. & 24 æ F & 24
.
(
P œ. œ œ
& 24
√
# œ œ # œ# œ n œ
5
pno.
3
œ
#œ
2 &4 Œ
œ. j œ
œ
œ
œ J
# # œœ J
5
∏
-
-
ty
-
œ
#œ
arco S.P.
pizz.
œ. J P
. #œ . 38 œ œœ 3 bœ 3 J Œ J 8 p
trem.
3 œ bœ 4 Fπ
œ.‡ ‰ p œ.
34 œ
œ . bœ œ œ J 3 π
non trem.
4
œ
#œ œ #œ œ nœ #œ
3 œ 4
-
œ.
-
œ
-
-
24
œ π S.P.
trem.
œæ œ œæ > . > Í Í
#œ .
œ Y œ Y œ # œ 24
œ f π sub. œ J
Ÿ~~~~~~~~~~~~ œ >œ . œ œ 2 †4 Fp 2 Œ 4
œ
œ
#œ
-
œ
5
non trem. trem.
œ
24
lu
#˙
æ . >œ œ Í
œ
of
5
p ord.
p j #˙ . #œ
œ.
ri
-
(canto)
4
œ
34 Œ
Œ.
)
#œ ·
5
pu - ri - ty, pu
+ œ·. ‰
‰.
‰
(S.G.)
P j b œ . 3 œ œj n >œ 3 œ œ J · J 4
(
#˙
4
)
ª (suddenly cheerful)
P #œ ≈ œ· œJ œ· # œ· # œ· œ· 34
96 voice
œ & 24 J -
cla.
‰
Œ
- st
& 24 ‰
O ten - drilled a as
+ ‡≈ ‰ j œ. # >œ > F F
vine
5 (S.G.)
,p œ a
π bT œ œ ≈ ‰ J ·
nœ .
-
rou -
-
∑
pno.
(
)
( )
(
)
bœ
24 Œ
> # # OYœ· f
)
)
my
∑
. ˝ ˝ OYœ. ‰ OYœ ‰ . # # OYœ. ‰ . ‡ 3 ≈ ‰ ≈ ‰ ‰ nœ 4 œ‡ > > ß 3 5 ß P ~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~ œ nœ œ #˙ . œ œ œ n >œ b œ ˙ œ >œ b œ 34 † 24 J 5 Fp Fp P π 34 ∑ ∑ ∑ & 24 (
Œ
lontano
34
Ÿ~~~~~~ 2 & 4 œ #œ œ # œ œ œ‡ ≈ > f Í (
j #œ ‰
∑
- nd
S.P.+
vla.
24
œ
24
bœ
œ
π3
OY.
œ ‰
3
‰
. # OYœ
‰
‰
3
P
œ
œ
OYœ.
J π
OYœ.
J p
‰
(misurata)
œ
bœ œ
#œ #œ
œ œ
24 24
# >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # ˙ æ fπ sempre œ. # œ. # œ. œ. Œ ∏
Klaus Ib Jørgensen: Spirit Beams - 11
5:3
‰
n œ. J
101 voice
dolce
j nœ
& Œ.
vla.
œ & J
OYœ.
† æ œ. · &
J p
Œ
œ J
re - ssed
œ
OYœ.
‰
J π
#˙ pno.
bœ J
bœ
& ‰
-
(canto)
(S.G.)
3
#œ nœ J
ca
cla.
3
œ ≈ ‰ ·
trust
5
n œ·
OYœ
· p
Œ #˙
5
œ. J # OY #œ
bœ J
≈
œ.
œ
œ· b œ
5
‰
OYœ ·
≈
# OY #œ
‰
‰
5
≈
≈
OYœ
58 ‰ .
≈
24
Œ
# OY #œ
·
5
Œ
œ. 58 æ
#˙ æ
‰
œ· b œ
58 œ
œ œ ‰
≈
O
æ ≈
fragile
b œ·.
58 Œ
Œ
∑
œ æ
58
∑
œ J
24
‰
24 24 24
∑
ª S.G.
(S.G.)
105 voice
œ bœ 2 ‰ &4 dream
cla.
vla.
& 24 ·
‰.
3
5
n œ. J
38 Π.
pressed
3
œ & 24 J
OYœ
œ
# OY #œ
F #œ œ 5 ·
(canto)
≈
38 œ b œ
œ
‰
‰
#˙ † 24 æ
spi
OYœ ·
OY œ
≈
œ
-
P j œ
œ
œ -
-
œ
-
rit
œ J YOœ.
Œ
wi
œ
OYœ.
o
OYœ.
j 24 œ . -
-
-
-
∑
OYœ.
YOœ. P
38 Π.
‰
#œ . 38 æ
p #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ P ® ≈ ® ≈. ® 24 ≈ Œ
≈ ≈
≈
‰
≈
24 ≈
p ≈ Œ
œ)
ne
24
‰
OYœ.
-
(
≈
Œ
pno.
& 24
∑
38
∑
∑
Klaus Ib Jørgensen: Spirit Beams - 12
∑
24
∑